THE PRICE FOR COLLABORATION IN ART is – as in the concentration camps – excremental suffocation. It is not by submission, coolness, apathy, boredom that great art is created – no matter what the cynics tell us. The secret ingredient is what is most difficult to learn - courage.NO!arthas continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". An example would be the Italian painter De Chirico, who dated his late paintings with early years, on the basis that the idea had come to him at that early date, but he got around to executing it only at the later date ‒ quite valid, in my opinion ‒ yet the art market hated it, for practical reasons of creating confusion about monetary value. That is, in my opinion, the main and real reason for art historians and critics insisting on this untrue measure. | Boris Lurie, 2003.